Opera Philadelphia pulls off a sparkling production of ‘The Anonymous Lover’

So much is certain about the picaresque life of Joseph Bologne, Chevalier de Saint-Georges (1745-1799) — his swordsmanship, violin virtuosity, overall charisma — that the only remaining question at Opera Philadelphia’s opening night was: Could he compose a great aria?

Yes, as heard in his reclaimed opera L’Amant anonyme (The Anonymous Lover), the only one of his six stage works to survive. Despite considerable odds, it was a complete success Friday at the Academy of Music.

Sounding like gracious early period Mozart, this 1780 opera is making the rounds among American companies with the distinction of being the first opera by a composer of African descent: Bologne was born on the island of Guadeloupe and educated in Paris.

While racism was a factor in the disappearance of his works, other composers in this lighter-than-light, tissue-thin operatic genre, too, have not survived the test of time.

In this period of 18th century France, opera was like a play with music, which means that Bologne’s score was given limited opportunities for transcending its time. Thus, his moments of excellence — they’re definitely there — can go unnoticed by the most sympathetic modern listeners.

To these ears, the opera delivered only intermittent charm in previous presentations from an online Los Angeles Opera production and in a historically authentic recording from Chicago’s Haymarket Opera.

The Opera Philadelphia success formula was a combination of fine singing, strategic conducting, witty line readings, and true ensemble acting; though what it all came down to was creating an inviting stage environment (with lush sets in saturated colors) and characters that were enormously good company.

Such qualities overrode a plot that demanded massive suspension of belief — a classic story of two people who love from afar (via letters) without realizing they’re everyday acquaintances.

The main believability barrier is the man’s pathological shyness that keeps him from acknowledging who he really is — one of many signs of the opera’s weak plot.

Somehow, the opera keeps the characters orbiting around each other — with a colorful supporting cast kept busy — in ways too well-mannered for this to be a bedroom farce, but might be called a hormone farce (since there’s no lack of desire). To what extent did the Friday audience buy it? The couple’s first, hard-won kiss won a roar of approval.

An opera that existed to sparkle and amuse did its job. Opera Philadelphia’s highly strategic team included director Dennis Whitehead Darling plus comedy acting coach Jennifer Childs, keeping the humor without devolving into cheap schtick. A constant source of wit was underscoring the contrast between 18th century social formality and down-to-earth directness.

Also significant was Kalena Bovell’s taut conducting and the effervescent playing from the orchestra, even in more routine passages of this uneven score.

And the cast? All were vocally and theatrically excellent, each with their well-defined personalities. The primary couple — Symone Harcum as Léontine and Travon Walker as Valcour — had the best music but the least-dimensional characters. Their poise was such that you barely noticed the deficits.

Among secondary characters, Johnathan McCullough (Ophémon), Ashley Marie Robillard (Jeannette), Sun-Ly Pierce (Dorothee), and especially Joshua Blue (Colin) made their every farcical entrance feel like a homecoming.

Postscript: Opera Philadelphia’s president and general director, Anthony Roth Costanzo, introduced the opera-wearing Eagles colors — but in sequins. His parting comment was urging the audience to shut off their phones, including their “anonymous lover” apps. “If I have to wait,” he said, “you have to wait.”